Essential LightWave
3D pdf

www.dbebooks.com - Free Books & magazines Essential LightWave â 3D [8] The Fastest and Easiest Way to Master LightWave Timothy Albee and Steve Warner with R obin Wood Wordware Publishing , Inc. Library of Congress Cataloging-in-Publication Data Albee, Timothy. Essential lightwave 3D8/byTimothy Albee and Steve Warner with Robin Wood. p. cm. Includes index. ISBN 1-55622-082-0 (pbk., companion CD-ROM) 1. Computer animation. 2. Computer graphics. 3. LightWave 3D. I. Warner, Steve, 1970- II. Wood, Robin, 1953- III. Title. TR897.7.A4215 2005 006.6'96 dc22 2004029130 CIP © 2005, Wordware Publishing, Inc. All Rights Reserved 2320 Los Rios Boulevard Plano, Texas 75074 No part of this book may be reproduced in any form or by any means without permission in writing from Wordware Publishing, Inc. Printed in the United States of America ISBN 1-55622-082-0 10987654321 0412 LightWave ® , LightWave 3D ® , HyperVoxels™, Particle FX™, and Video Toaster ® are trademarks or registered trademarks of NewTek, Inc. in the United States and other countries. All brand names and product names mentioned in this book are trademarks or service marks of their respective companies. Any omission or misuse (of any kind) of service marks or trademarks should not be regarded as intent to infringe on the prop - erty of others. The publisher recognizes and respects all marks used by companies, manufacturers, and developers as a means to distinguish their products. This book is sold as is, without warranty of any kind, either express or implied, respecting the contents of this book and any disks or programs that may accompany it, including but not limited to implied warranties for the book’s quality, performance, merchantability, or fitness for any particular purpose. Neither Wordware Publishing, Inc. nor its dealers or distributors shall be liable to the purchaser or any other person or entity with respect to any liability, loss, or damage caused or alleged to have been caused directly or indirectly by this book. All inquiries for volume purchases of this book should be addressed to Wordware Publishing, Inc., at the above address. Telephone inquiries may be made by calling: (972) 423-0090 Dedication To the memory of my grandfather, Winston Hudson: automotive designer, actor, director, singer, violinist, and luthier. His life was a continuous example that all things are possible for the dedi - cated heart and the creative mind. Timothy Albee To my parents, Charles and Dorothy, who didn’t flinch when I told them I wanted to be an artist. The greatest gift a child can receive is the unwavering love and support of his parents. You provided that in spades. Thank you. Steve Warner iii This page intentionally left blank. Contents Introduction xi Chapter 1 Playing in Three Dimensions 1 3D “Space” 1 Objects 3 Virtual Lights 4 Virtual Camera 6 Chapter 2 LightWave Dissected 8 Modeler 9 Viewports and Viewport Controls 10 Current Object 13 Layers 13 Linking to Layout 15 Vertex Mapping 15 Adjustment Windows 16 Selection/Action Modes 17 Quick-Info Display 19 Modeler Toolsets 19 Modeler General Options 22 Modeler Display Options 22 The File Menu 25 The Edit Menu 25 The Window Menu 25 The Help Menu 26 Modeler Quick Menus 26 Hot Key Customization 27 Menu Layout Customization 27 Layout 31 Viewport Styles 32 Viewport Controls 33 Linking to Modeler 34 The Frame Slider 35 Frame Controls 35 Key Creation/Deletion 36 Item Selection 37 Quick-Info Display 38 The Dope Track 38 v Layout Menu Tabs 39 The File Menu 41 The Edit Menu 42 The Window and Help Menus 42 Layout Quick Menus 42 Layout General Options 43 Layout Display Options 44 Plug-ins 46 TheHub 46 LightWave ScreamerNet 48 Chapter 3 Modeling 1: Foundation Material 49 Points (Vertices) 49 Polygons 52 Normals 53 Planar vs. Non-Planar 54 Statistics Windows 55 Grouping Polygons (Parts) and Point Selection Sets 59 Selection “Tricks” 60 Select Connected 61 Invert Selection 61 Expand/Contract Selection 61 Select Loop 62 Select Points/Polygons 62 Show/Hide Selection 63 Primitives 65 Text 66 Surfacing 67 Move, Rotate, and Scale 72 Extrude 77 Extender Plus 79 Booleans and Solid Drilling 82 Bevel and Smooth Shift 88 Edge Bevel and Super Shift 89 Chapter 4 Layout 1: Foundation Material 93 LightWave’s Camera 94 Rendering 99 Lighting 102 Step 1: Load the Base Scene 103 Step 2: Global Intensity 103 Step 3: Spotlight 104 Step 4: Why Do Things Look “3D”? 106 Step 5: Ray-Traced Soft Shadows 109 Contents ························ vi Step 6: Falloff (Atmosphere) 110 Step 7: Radiosity 112 Advanced Surfacing 114 Step 1: Chrome Sphere 114 Step 2: “Realistic” Reflections 117 Step 3: Exploring a Surface Preset 119 Step 4: More Gradient Tricks — “Realistic” Metal 123 Step 5: VIPER 126 Step 6: “Building” a Surface — Rusted Steel 127 Step 7: “Found” Textures 131 Chapter 5 Modeling 2: Additional Tools 133 EPS Import 133 Bridge 136 Lathe 138 Taper 140 Twist 141 Bend 142 Smooth Scale/Move Plus 143 Rail Extrude — Single Rail 144 Rail Extrude — Multiple Rails 149 Rail Bevel 151 Edge Tools 153 Add Edges 153 Reduce Edges 155 Remove Edges 155 Rounder 156 UV Texturing 165 Chapter 6 Architectural Modeling Exercise: Interior Set 174 Floor Plan 174 Two-Point Polyline Work 175 Chapter 7 Modeling 3: Sub-Patch Organic Modeling 197 Smooth Shift 199 BandSaw 200 Magnet 203 Pole 204 Vortex 204 Subdivision Order 205 Chapter 8 Organic Modeling Exercise 1: “One-Minute” Spaceship 208 ························· Contents vii Chapter 9 Organic Modeling Exercise 2: Character Body 214 Torso 214 Arms and Hands 216 LegsandFeet 224 Finishing Touches 232 Chapter 10 Organic Modeling Exercise 3: Head Modeling 236 Reference 238 Chapter 11 Organic Modeling Exercise 4: Modeling a Wolf’s Head 259 Chapter 12 Modeling 4: Spline Modeling Basics 270 The “Rules of the Game” 270 Three-Curve Patches 271 Four-Curve Patches 275 Chapter 13 Spline Modeling Exercise: Kayak 278 Chapter 14 Spline Modeling Exercise 2: Modeling a Human Head 292 Poly Count and Flow 293 Poly Count 293 Poly Flow 294 Spline Modeling Pitfalls 296 Spline Modeling Tips and Tricks 297 Creating the Cage 298 Patching Tips and Tricks 335 Patching the Cage 337 Basic Detailing 344 Polygon Reduction 350 Advanced Detailing 358 Closing Thoughts 379 Chapter 15 Layout 2: Animation Basics 380 Keyframes (Keys) 380 “Motion” Graph Editor 385 Adjusting Timing 388 Previews 394 Rendering an Animation 395 Chapter 16 Layout 3: Character Animation 398 A Brief Introduction to Character Animation 398 Bones and Rigs 398 Inverse Kinematics, Forward Kinematics, and IK Booster . . 399 FK (Forward Kinematics) 399 Contents ························ viii IK (Inverse Kinematics) 400 What Is IK? 400 “Standard” IK Basics 400 “Standard” IK Hazards 407 “Standard” IK Rules 415 IK Booster 416 Applying IK Booster 416 Long Chain Dependability 418 IK Booster and Movement 419 IK Booster and Keyframes 419 Pose and Motion Saving and Loading 421 Quaternion Rotations 422 Keyframe Move Mode 423 Newbie Sensory Overload 424 Chapter 17 Layout 4: Special FX 425 Glow Effect 425 Glow Effect Basics 426 Fake “Volumetric Lights” 429 Lens Flares 434 Compositing 440 CG Elements onto a “Live-Action Plate” 440 Basic Explosions 449 Chapter 18 Simulations 1: HyperVoxels and Particles 459 HyperVoxels 459 HyperVoxel Explosion 459 HyperVoxel “Surfaces” 466 HyperVoxel “Sprites” 471 Particles 477 Conclusion 481 Chapter 19 Simulations 2: Dynamics 482 An Introduction to Dynamics 482 Personal Dynamics 483 Social Dynamics 483 Relational Dynamics 483 The Dynamics Community 484 Dynamic Decisions 485 Applied Dynamics 486 Collision Effects 486 HardFX 489 ClothFX 499 SoftFX 504 ························· Contents ix [...]... we’ve got to make sure everyone is on the same page about understanding the core concepts of 3D Math and geometry figure heavily in these core concepts, but they come into play in such a way that they’re fun (This is probably because when working in 3D, math no longer represents abstract, almost arcane, concepts In 3D, math and geometry are almost tangible They give you immediate gratification with imagery... gratification with imagery that looks awesome when you solve whatever problem you’re working on.) Note If kids were taught math and geometry with 3D (making movies or exporting animations into a public domain game engine), you couldn’t keep them away from it Using 3D, you not only see an immediate use for all that nifty trigonometry, geometry, tensor calculus, and algebra, but you also have a lot of fun... core, the object is made up of a meshwork of lines that define triangles, quadrangles, or other variously shaped polygons The quickest way to understand the concept of what 3D is all about is to think of Figure 1-4: Beneath the 3D fur (generated with Worley Labs’ Sasquatch) is a model made up of thousands and thousands of triangles papier-mâché laid over a chicken-wire mesh The papier-mâché surface... scratching the surface of the power contained within LightWave.) 8 LightWave makes use of the idea of “separation of power” better than any other 3D package I’ve used In Modeler, you sculpt your objects; in Layout, you lay them out to create your scene If you’ve worked with 3D packages in which you have to fight with modeling the details on an object while it is encroached upon on all sides by other items in... playing with it (yes, playing)! So, as you explore this, keep in mind that the whole objective is to have fun, explore, and play If you keep that focus in mind, the nuts and bolts will be almost effortless 3D “Space” To measure any three-dimensional object, whether it be in “real” space or the “virtual world” of a computer, you need to attribute to that object three dimensions In the real world, these three... is the axis that would raise and lower the nose of the airplane, and bank is the axis that would get the plane to roll on its side It may seem silly, but for the first couple of years that I worked in 3D, I still did the “my-hand-isan-airplane” thing to figure out rotation axes (Hey, if it works, don’t knock it!) · · · · · · · · · · · · · · · · Playing in Three Dimensions Figure 1-3: LightWave’s rotation... quite simply, a collection of tools and techniques that many professional LightWave artists use every single day doing what we do in our various fields The tools and techniques explored in this book are essential to creating the caliber of imagery that you see on film and television and in print and video games While this book contains no “secrets,” per se, it does strip away the techno-babble that plagues... looks like it could be in a submarine’s range finder is what’s known as a field chart For traditional animators, a field chart helps calculate panning shots (shots where the background is moving), but for 3D, it is · · · · · · · · · · · · · · · · Playing in Three Dimensions Figure 1-13: The Camera view The areas shaded with tan on the left and right of the viewport are indications of what is outside the... virtual tripod “If you nail together two things that have never been nailed together before, some schmuck will buy it from you.” — George Carlin ··· With those basic concepts, that’s about all there is to 3D! Everything else is just about finding new ways of putting things together Your greatest assets are creativity, problem-solving skills, and a darn good sense of humor 7 Chapter 2 LightWave Dissected... on the companion CD-ROM When available, both PC and Mac versions have been included Obviously, the information contained in this book may seem overwhelming, especially if this is your first foray into 3D In the immortal words of Douglas Adams, “Don’t panic!” This book will provide you with a solid foundation in LightWave It comes from those with many years of experience who still have the passion of . www.dbebooks.com - Free Books & magazines Essential LightWave â 3D [8] The Fastest and Easiest Way to Master LightWave Timothy Albee and Steve Warner with. Publishing , Inc. Library of Congress Cataloging-in-Publication Data Albee, Timothy. Essential lightwave 3D8 /byTimothy Albee and Steve Warner with Robin Wood. p. cm. Includes index. ISBN 1-55622-082-0. core concepts of 3D. Math and geometry figure heavily in these core concepts, but they come into play in such a way that they’re fun. (This is probably because when working in 3D, math no longer